Start Over

16-mm sound motion pictures, a manual for the professional and the amateur (1949-55)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

190 VIII. SOUND, SOUND RECORDING, AND CHARACTERISTICS from the indicated corrections in only minor degree. In making such tests, it cannot be blindly assumed that significant differences do not occur in the projectors used or in the films and their processings. Relatively large differences can and do occur; with regard to films, for example, there are relatively large differences in different emulsion lots of the same type of film ; smaller, yet possibly significant roll-to-roll differences occur within the same emulsion lot of film, especially if different rolls have been stored under different storage conditions in the period between manufacture and use. (Storage of raw film is always assumed in unopened taped cans — as supplied by the film manufacturer.) Since even larger variations are to be expected in the processing of the film, it can be seen that critical listening tests can be of quantitative value only when proper process controls are applied. The responsibility for setting up these controls rests squarely on the shoulders of those making the tests. This requires an appreciation of the performance of film under the different conditions of processing to which it may be subjected, just as much as it implies a good knowledge of the electrical performance of the microphone, amplifiers, sound recording machine, and other electrical components. Transfer Steps A transfer step is a step in the process of making sound films in which energy is transferred from one form to another, or images are transferred from one medium to another. It is apparent that there is no "perfect" transfer step ; every transfer step results in a transfer loss. A transfer loss ordinarily means a loss of high frequencies, an increase in noise with a consequent reduction in signal-to-noise ratio, and an increase in distortion; the absolute magnitudes of these losses and their relative magnitudes with respect to each other depend upon the character of the transfer step and the manner in which it is actually accomplished. Over-all transfer losses can be kept to a minimum by reducing to the irreducible minimum the number of transfer steps between the original and the release print, and by keeping the losses in each and every transfer step to a minimum. Much can be accomplished in the latter direction by vigilant maintenance of well-designed equipment. Quite often the loss in a particular transfer step is excessive not because the equipment is inadequate for the intended purpose, but rather because the equipment is poorly maintained and not kept at the peak of its operating efficiency.